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In 1921, Sergei Prokofiev's Love for Three Oranges—one of the
earliest, most famous examples of modernist opera—premiered in
Chicago. Prokofiev's source was a 1913 theatrical divertissement by
Vsevolod Meyerhold, who, in turn, took inspiration from Carlo
Gozzi's 1761 commedia dell'arte–infused theatrical fairy tale.
Only by examining these whimsical, provocative works together can
we understand the full significance of their intertwined lineage.
With contributions from 17 distinguished scholars in theater, art
history, Italian, Slavic studies, and musicology, Three Loves for
Three Oranges: Gozzi, Meyerhold, Prokofiev illuminates the
historical development of Modernism in the arts, the ways in which
commedia dell'arte's self-referential and improvisatory elements
have inspired theater and music innovations, and how polemical
playfulness informs creation. A resource for scholars and theater
lovers alike, this collection of essays, paired with new
translations of Love for Three Oranges, charts the transformations
and transpositions that this fantastical tale underwent to provoke
theatrical revolutions that still reverberate today.
What were the origins of commedia dell'arte and how did it evolve
as a dramatic form over time and as it spread from Italy? How did
its relationship to the ruling ideology of the day change during
the Enlightenment? What is its legacy today? These are just some of
the questions addressed in this authoritative overview of the
dramatic, ideological and aesthetic form of commedia dell'arte. The
book's 3 sections examine the changing role of performers and
playwrights, improvisatory scenarios and scripted performance, and
its function as a vehicle for social criticism, to offer readers a
clear understanding of commedia dell'arte's evolution in
Renaissance Italy and beyond. This study throws new light on the
role of women performers; on the changing ideological discourse of
commedia dell'arte, which included social reform and, later,
conservatism as well as the alienation of ethnic minorities in
complicity with its audience; and on its later adaptation into
hybrid forms including grotesque dance and the giullarata typified
by the work of Dario Fo.
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2018 (Hardcover)
Gunter Berghaus, Domenico Pietropaolo, Beatrice Sica
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R3,766
Discovery Miles 37 660
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Ships in 12 - 17 working days
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The eighth volume of the International Yearbook of Futurism Studies
is again an open issue and presents in its first section new
research into the international impact of Futurism on artists and
artistic movements in France, Great Britain, Hungary and Sweden.
This is followed by a study that investigates a variety of Futurist
inspired developments in architecture, and an essay that
demonstrates that the Futurist heritage was far from forgotten
after the Second World War. These papers show how a wealth of
connections linked Futurism with Archigram, Metabolism, Archizoom
and Deconstructivism, as well as the Nuclear Art movement,
Spatialism, Environmental Art, Neon Art, Kinetic Art and many other
trends of the 1960s and 70s. The second section focuses on Futurism
and Science and contains a number of papers that were first
presented atthe fifth bi-annual conference of the European Network
for Avant-Garde and Modernism Studies (EAM), held on 1-3 June 2016
in Rennes. They investigate the impact of science on Futurist
aesthetics and the Futurist quest for a new perception and rational
understanding of the world, as well as the movement's connection
with the esoteric domain, especially in the field of theosophy, the
Hermetic tradition, Gnostic mysticism and a whole phalanx of
Spiritualist beliefs. The Archive section offers a survey of
collections and archives in Northern Italy that are concerned with
Futurist ceramics, and a report on the Fondazione Primo Conti in
Fiesole, established in April 1980 as a museum, library and archive
devoted to the documentation of the international avant-garde, and
to Italian Futurism in particular. A review section dedicated to
exhibitions, conferences and publications is followed by an annual
bibliography of international Futurism studies, exhibition
catalogues, special issues of periodicals and new editions.
The semiotics of the Christian imagination describes the repository
of signs and the logic of signification through which a community
of faith envisions spiritual truths. This book analyses various
examples in text, images, music, art and scientific treatise of the
imaginative semiotisation of the fall of Man and the Church's
semiotic perception of the Divine plan for Redemption. The book
includes a chapter detailing the theory of signs, based on a close
reading of primary sources, and has nine further chapters on the
meaning-making inherent in ideas of the Fall and Redemption of
mankind. These are filtered through and given material
representation by the semiotic paradigms of various cultural
fields, including philology, verbal arts and science. Central to
this practice - and to the book's message - are two themes of
theological semiotics fundamental to man's understanding of himself
in the larger scheme of things. Two of these include the theology
of the Fall and a sacramental theory of signs. The theory is
grounded in the doctrine of analogy, and this is the only reliable
cognitive link between the immanence of the thinking subject and
the transcendence that is the object of thought.
What were the origins of commedia dell'arte and how did it evolve
as a dramatic form over time and as it spread from Italy? How did
its relationship to the ruling ideology of the day change during
the Enlightenment? What is its legacy today? These are just some of
the questions addressed in this authoritative overview of the
dramatic, ideological and aesthetic form of commedia dell'arte. The
book's 3 sections examine the changing role of performers and
playwrights, improvisatory scenarios and scripted performance, and
its function as a vehicle for social criticism, to offer readers a
clear understanding of commedia dell'arte's evolution in
Renaissance Italy and beyond. This study throws new light on the
role of women performers; on the changing ideological discourse of
commedia dell'arte, which included social reform and, later,
conservatism as well as the alienation of ethnic minorities in
complicity with its audience; and on its later adaptation into
hybrid forms including grotesque dance and the giullarata typified
by the work of Dario Fo.
The semiotics of the Christian imagination describes the repository
of signs and the logic of signification through which a community
of faith envisions spiritual truths. This book analyses various
examples in text, images, music, art and scientific treatise of the
imaginative semiotisation of the fall of Man and the Church's
semiotic perception of the Divine plan for Redemption. The book
includes a chapter detailing the theory of signs, based on a close
reading of primary sources, and has nine further chapters on the
meaning-making inherent in ideas of the Fall and Redemption of
mankind. These are filtered through and given material
representation by the semiotic paradigms of various cultural
fields, including philology, verbal arts and science. Central to
this practice - and to the book's message - are two themes of
theological semiotics fundamental to man's understanding of himself
in the larger scheme of things. Two of these include the theology
of the Fall and a sacramental theory of signs. The theory is
grounded in the doctrine of analogy, and this is the only reliable
cognitive link between the immanence of the thinking subject and
the transcendence that is the object of thought.
Analysis of improvisation as a compositional practice in the
Commedia dell'Arte and related traditions from the Renaissance to
the 21st century. Domenic Pietropaolo takes textual material from
the stage traditions of Italy, France, Germany and England, and
covers comedic drama, dance, pantomime and dramatic theory, and
more. He shines a light onto 'the signs of improvised
communication'. The book is comprehensive in its analysis of
improvised dramatic art across theatrical genres, and is multimodal
in looking at the spoken word, gestural and non-verbal signs. The
book focusses on dramatic text as well as: - The semiotics of stage
discourse, including semantic, syntactic and pragmatic aspects of
sign production - The physical and material conditions of
sign-production including biomechanical limitations of masks and
costumes. Semiotics and Pragmatics of Stage Improvisation is the
product of an entire career spent researching the semiotics of the
stage and it is essential reading for semioticians and students of
performance arts.
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